By Carl Begai
It’s probably in poor taste to suggest the members of Stryper have sold their souls in exchange for their current success. The Christian metal band’s 2005 comeback, Reborn, put an end to 15 years of silence (not including some sporadic touring) and was an all-important step into a decade that saw the band release four studio albums, a cover album, a volume of Stryper re-recordings, and a live record / DVD, interspersed with international tours. Considering the way Stryper splintered and died following their Against The Law album from 1990, nobody really expected them to get back together let alone turn the momentum kicked up by Reborn into wave after wave of in your face material. Their latest assault is the fourth album of all original songs since Stryper’s reunion, and album entitled Fallen that has the fans locked in yet again and has vocalist / guitarist Michael Sweet grinning from ear to ear.
“At the end of the day what’s important, obviously, is that we feel we’re pleasing God and we’re pleasing ourselves,” Sweet says of the band’s continued success. “The icing on the cake is how the fans feel about the new album.We try to ask questions and get feedback from the fans, and we apply that when we make an album. If they want to hear an epic six minute song with tempo changes, we give them ‘Yahweh’. We try to listen to the fans without selling ourselves out, and I think we did that this time.”
As a first taste of Fallen, it’s safe to say nobody was expecting the epic attack of ‘Yahweh’. The song is easily on par with one of Stryper’s strongest songs ever, ‘Soldiers Under Command’, and goes a step beyond.
“I don’t think anyone was expecting that, truthfully. It’s definitely down a different avenue for us. We’ve never done a six-and-a-half minute song, we’ve never had a bunch of time changes in a song; it borders on the progressive side of rock. Did we do that to try and fit in? No. We grew up on all this kind of stuff. We’re huge Iron Maiden fans and we love Dream Theater, we listen to all of that stuff, and it’s not out of our wheelhouse at all to do something like ‘Yahweh’. And then you bring in the fact that Clint Lowery from Sevendust had a hand in the making of the song… he sent me the original riff and I ran with it.” Continue Reading
By Carl Begai
Best known as the voice and attitude of full-on traditional metal bashers Benedictum, Veronica Freeman has traded in the leather, chains and knee-high bitch boots for a romp with presumably tamer melodic rock/metal. Teaming up with a host of accomplished musicians / songwriters including Pete Wells (Benedictum), Jeff Pilson (Foreigner, ex-Dokken), Michael Sweet (Stryper) and Mike Lepond (Symphony X) to name a few, Freeman has put out a genuinely strong first solo effort boasting the ’70s / ’80s vibes and flavours of classic KISS, Dokken, a bit of AC/DC, and even present day Stryper. The 12-track album features Freeman pulling back on her raging Ronnie James Dio-esque voice just enough for a more soulful delivery suited for this type of rawk, but by no means does it soften any of the blows delivered. Think a pissed off Anastacia backed by walls of distortion and guitar shred, which is a very good thing. But, her familiar in-your-face roar is most certainly part of this production, unleashed as needed.
Now Or Never features two songs co-written with Michael Sweet, with ‘Again’ kicking things off and ‘Love Should Be To Blame’ surfacing mid-album; both could have made the cut for Stryper’s recent No More Hell To Pay record. ‘Roller Coaster’ is reminiscent of classic Destroyer-era KISS, ‘Kiss My Lips’ (featuring Chastain singer Leather Leone guesting) has more groove than every track on the new AC/DC record, and the (real) album-closing salvo of ‘Ready To Run’ is reminiscent of early, early Dokken’s classic ‘Live To Rock (Rock To Live)’. Continue Reading
By Carl Begai
It’s considered poor journalistic form for a writer to put himself / herself in what’s supposed to be an unbiased info piece, but the catalyst for this story was in fact my personal disdain for teenagers in the music business. A hypocritical attitude to some degree given that many of the bands and musicians I hail as personal heroes started in their teens, but in this day and age it doesn’t seem to matter if newcomers are talent free with regards to achieving success. More than ever, the worn out music industry cliché of record label suits snagging disposable prettygirls’n’boys and thrusting them into the public eye with an image and songs written by an overpriced producer seems to hold true. And it’s not an illlness restricted to the pop music world (Baby Metal, anyone?).
With that in mind, if I had stumbled upon 16 year-old Gabbie Rae Trial through normal online channels, I likely would have dismissed her as just another fresh-faced marketing mogul’s dream guaranteed to be history before the end of the year. As luck would have it, she was introduced to me through a Facebook post by Queensrÿche vocalist Todd La Torre, who is known for his talent and integrity. Having spoken with La Torre several times in the past, there was no way he would waste his time and breath on fluff. Asking him to elaborate, he made it clear that Gabbie Rae is the real deal as far as he’s concerned. Curiosity piqued by the song being hyped (‘Scream’), a trip through YouTube’s infinite wealth of music yielded a startling catalogue of Gabbie Rae material. It runs the gamut from singer/songwriter ballads, an anti-bullying song, pop covers, and some positively startling live acoustic renditions of metal classics from Dio, Iron Maiden and Queensrÿche.
Her killer cover of the Queensrÿche classic ‘Queen Of The Reich’ – which really shouldn’t work acoustically – was enough on its own to push for this interview.
“The first time I met Todd I told him that I’d covered a Queensrÿche song acoustically, I’m pretty sure he thought it was ‘Silent Lucidity’ or ‘I Don’t Believe In Love’ or something like that,” Gabbie Rae laughs. “But… nope (laughs). It’s kind of fun to mess with people.” Continue Reading
By Carl Begai
Gotta admit, with all the online babble from the band about how No More Hell To Pay would be the heaviest Stryper album ever, it’s something of a disappointment being eased into the proceedings rather than cracked in the teeth by a wall of aggression. Not that tracks ‘Revelation’ and the title track (tracks 1 and 2) are weak by any means – quite the contrary, actually – but I was expecting riffs in the spirit of ‘Makes Me Wanna Sing’ and ‘The Way’ to kick things off. Along comes track three ‘Saved By Love’, however, and it’s clear the band was not in fact blowing holy smoke, just biding their time before giving the fans a righteous ass-kicking. No More Hell To Pay is loaded with guitar shred – riffs and solos – from top to bottom and frontman Michael Sweet’s high-end vocals are as strong as ever, with brilliant production to match (as in bassist Tim Gaines can actually be heard for a change), making for one of Stryper’s best albums to date.
‘Legacy’, ‘Te Amo’, ‘Renewed’ and ‘Saved By Love’ are instant standouts as the fastest / heaviest tracks on the record (even though the titles read like a bloody chick flick soundtrack), and the songs where Sweet offers up a welcome rougher edge to his voice. They’re a stark contrast to the brazen ’80s flavour of ‘Water Into Wine’ and ‘Sympathy’, which probably would have saved the sadly over-Styx-ified In God We Trust album (1988) had they been written way back when. Fulfilling the expected To Hell With The Devil-ism requirements are ‘No More Hell To Pay’ and ‘Sticks & Stones’ (the album’s ‘Calling On You’), while their cover of The Art Reynolds Singers’ 1966 gospel hit ‘Jesus Is Just Alright’ kills their 1990 rendition of Earth, Wind & Fire’s ‘Shining Star’ dead. Continue Reading
Yeah, I confess, I was one of the sheep that helped this album go platinum. Listening to it now, I realize I’ve become a metalhead of discerning taste over the past 23 years, and it boggles the mind to think I used to wade through this record (or the cassette in my car) to get to the good stuff. Probably had something to do with the fact that To Hell With The Devil’s predecessor, Soldiers Under Command, offered up a wealth of crushing guitars and introduced me to oft-overlooked vocalist Michael Sweet. Call it a sign of the times, but with the rise of Poison and related Max Factor-sponsored bands, To Hell With The Devil was a polished God Glam record that alternated between a balls-out metal, prissy melodic rock, and two of the worst, cheesiest, (insert derogatory comment here)-est, pre-Dirty Dancing soundtrack ballads ever written. Ever. Continue Reading